In front of the Civilian Control Line (CCLine) in front of Baekmagoji Hill in Cheorwon, Gangwon Province. The cold, hard concrete barrier that used to block the movement of people and vehicles was covered with brilliant fabrics and the touch of local residents.
We asked contemporary artist ZAIN, who stood at the center of this project supported by the Cheorwon Cultural Foundation's Yangjiri Residency in mid-July, about the meaning of the "MULGO" she opened through phone calls and social media.
Contemporary artist ZAIN's "Cheorwon DMZ - MULGO" project was far from a one-time mural or decoration. It was a living site where the military, government, and civilians crossed boundaries to join hands, breathing the warmth of life into ideological barriers. We look forward to seeing what kind of resonance her "Mutual Becoming" series will bring as it expands across the entire DMZ region, including Paju and Goseong.
Q) First, could you tell us the background of how this Cheorwon DMZ project began?
A) We live in an "era of sensory drought" where information overflows, but our actual senses have withered away. Being selected for the Cheorwon Cultural Foundation Yangjiri Residency open call led me to form a connection with Cheorwon, and through deep conversations with the local residents, I gained a new perspective on viewing the DMZ.
Q) Was there anything particularly inspiring from your interviews with the residents?
A) The residents repeatedly told me, "Living while constantly looking at these barrier lines is much harder than you might think." Yet, even under those harsh conditions, they were redirecting water channels every day and quietly safeguarding their land while preparing for tomorrow. It wasn't just a place guarded solely by soldiers; it was a vibrant site where residents are cultivating their livelihoods. That’s where I drew the concept of "MULGO" from.
Q) This performance caught a lot of attention because it was participatory in nature. How did the process unfold?
A) Previously, I often worked alone, but this time, Cheorwon agricultural youth leader Jin Se-jong, soldiers from the 5th Infantry Division of the ROK Army, local residents, and cultural arts figures all put their heads together. I visited the military, local authorities, and residents one by one to persuade and communicate with them, expanding our relationships. Around the barrier line within the Civilian Control Line, I presented a performance utilizing irrigation pipes, and afterward, residents and soldiers directly installed translucent fabrics onto the wall, transforming the barrier into a space of meeting and connection.
Q) I heard your painting and drawing methods are quite unique as well.
A) My main paintings utilized field fragments left over from the war, such as barbed wire and landmine pieces, as tools. They capture how paint breaks through limitations and carves out a path across a canvas blocked by tape. It represents the very landscape of the DMZ, steadily continuing the path of life amidst regulation and control. I am also showcasing about 80 research drawings accumulated through repeated field visits, along with a small narrative book the size of a Civilian Control Pass.
Q) To the general public, the DMZ still feels like a rigid and frightening political space. What message do you want to convey through this work?
A) I didn't want to portray the DMZ merely as a fractured land or a base of ideological confrontation. There are "people" living there just like us, fiercely preparing for tomorrow. I believe that true communication begins when art breaks down rigid ideological walls and fills the space with warm stories of human life. I hope this project serves as a precious stepping stone moving away from solitary artistry toward "Mutual Becoming".
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